Just came from it...absolutely awful. There is almost nothing to recommend this movie. Horrible plot, poor acting -- why again do Colin Farrell and Jaime Fox earn praise for their work? -- poor pacing...I could go on but I'd be spending more time on this movie than it deserves.

Are you kidding me? The plot was old hat but there's no reason to call it horrible -- I thought what it did, it did well. The pacing, while slow and unvaried, provided a constant sense of dread. And the cinematography was perfect, as always with Michael Mann.

The movie wasn't great, but I think it was worth watching. Perhaps you were expecting a remake of the TV show?

Mann's impressed me (Collateral) and disappointed greatly (Heat), though Collateral was pretty much carried by Foxx and Cruise. But all the complaining I've heard about Vice has pretty sounded like nothing more than fanboys getting mad that it wasn't the original (very, very silly) tv show. Come on, who actually takes Phil Collins seriously as a musician? Really.

In the Air Tonight is a great song, and how on earth did you not like Heat?

I can't say I like either version of In the Air Tonight, but the Nonpoint version is vastly superior. Collins' version, like, well, bascially everything he's every done, is impossible to take seriously. I disliked Heat because I find Mann has a proclivity bordering on pathological need for oversimplifying characters and situations. His ending for Heat, without spoiling it for anyone who hasn't seen it, turns the "villains" into pieces of cardboard while he desperately tries to turn a vaguely sociopathic cop into a hero. He tries the same shit in Collateral and only sort of fails to make a much stupider film because of Cruise and Foxx. It's really, really apparent if you listen to the commentary where he starts talking about how he thinks the ending is about existentialism fighting nihilism. It's pretentious and breathlessly vapid.

Are you kidding me? The plot was old hat but there's no reason to call it horrible -- I thought what it did, it did well. The pacing, while slow and unvaried, provided a constant sense of dread. And the cinematography was perfect, as always with Michael Mann. The movie wasn't great, but I think it was worth watching. Perhaps you were expecting a remake of the TV show?

No, I expecting a good movie. Re-read what you just wrote. The plot was old hat. The pacing was slow. Wow, the cinematography was great! The only sense of dread I had was the realization this was a two hour movie. The acting was sub-par. The plot recycled from about one hundred Miami Vice episodes -- and generally even more ludicrous. The pacing was an exercise in patience. The movie wasn't sexy (the chemistry between Colin Farrell and Gong Li was non-existent) or thrilling. It wasn't even stylish, usually a trademark of Mann's movies.The only praise I can give it was that it was shot beautifully. Utterly forgettable.

What do you mean? Do you like Phil Collins? I've been a big Genesis fan ever since the release of their 1980 album, Duke. Before that, I really didn't understand any of their work. Too artsy, too intellectual. It was on Duke where Phil Collins' presence became more apparent. I think Invisible Touch was the group's undisputed masterpiece. It's an epic meditation on intangibility. At the same time, it deepens and enriches the meaning of the preceding three albums. Listen to the brilliant ensemble playing of Banks, Collins and Rutherford. You can practically hear every nuance of every instrument. In terms of lyrical craftsmanship, the sheer songwriting, this album hits a new peak of professionalism. Take the lyrics to Land of Confusion. In this song, Phil Collins addresses the problems of abusive political authority. In Too Deep is the most moving pop song of the 1980s, about monogamy and commitment. The song is extremely uplifting. Their lyrics are as positive and affirmative as anything I've heard in rock. Phil Collins' solo career seems to be more commercial and therefore more satisfying, in a narrower way. Especially songs like In the Air Tonight and Against All Odds. But I also think Phil Collins works best within the confines of the group, than as a solo artist, and I stress the word artist. This is Sussudio, a great, great song, a personal favorite. Jon.

Do you like Phil Collins? I've been a big Genesis fan ever since the release of their 1980 album, Duke. Before that, I really didn't understand any of their work. Too artsy, too intellectual. It was on Duke where Phil Collins' presence became more apparent. I think Invisible Touch was the group's undisputed masterpiece. It's an epic meditation on intangibility. At the same time, it deepens and enriches the meaning of the preceding three albums. Listen to the brilliant ensemble playing of Banks, Collins and Rutherford. You can practically hear every nuance of every instrument. In terms of lyrical craftsmanship, the sheer songwriting, this album hits a new peak of professionalism. Take the lyrics to Land of Confusion. In this song, Phil Collins addresses the problems of abusive political authority.

In Too Deep is the most moving pop song of the 1980s, about monogamy and commitment. The song is extremely uplifting. Their lyrics are as positive and affirmative as anything I've heard in rock. Phil Collins' solo career seems to be more commercial and therefore more satisfying, in a narrower way. Especially songs like In the Air Tonight and Against All Odds. But I also think Phil Collins works best within the confines of the group, than as a solo artist, and I stress the word artist. This is Sussudio, a great, great song, a personal favorite.

Jon.

LOL. I remember the first time I heard In the Air Tonight, in the cocktail lounge at Dorsia.

I saw the movie on Saturday night. The plot was bloated and meandering, the dialogue mediocre, and the character development non-existent. A huge disappointment after Collateral. Recommended only for hardcore Mann fans.